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1917: “1917” is a simple story of duty wrapped up in a high gloss technological package that delivers a vividly immersive look at life during wartime.
THE LIGHTHOUSE: An expertly rendered gothic slow burn that brings with it an atmosphere of dread shrouds the film like fog rolling into shore.
ONCE UPON A TIME IN… HOLLYWOOD: The film is specific in its setting but universal in portrayal of how people react to the shifting sands of time. Funny, sad and occasionally outrageous, it’s just like real life as filtered through a camera lens.
UNCUT GEMS: Adam Sandler delivers a remarkable performance, powered by jet fuel, that, by the time he is locked in the trunk of his own car, naked, will draw you into “Uncut Gems’” dirty little world.
WAVES: Fuelled by a soundtrack by from Atticus Ross and Trent Reznor, “Waves” details the hardships that come with difficult decisions but also the redemption that can come with forgiveness.
ANGEL HAS FALLEN: If action movies are the heavy-metal of the film world then “Angel Has Fallen,” starring Gerard Butler in his third turn as Secret Service Agent Mike Banning, is the Ywengie Malsteen of the genre. It’s too loud, too frenetic with too many notes.
ANNA: The presentation of the story can’t rightly be called a broken timeline as much as a shattered, twisted and torn timeline.
SERENITY: If nothing else “Serenity” takes chances, not the kind of chances that are likely to please an audience but at least you can’t guess how it will end. Intrigued?
REPLICAS: “Replicas” is so scattershot—Cloning! Artificial Intelligence! Robots!—it likely should have been titled “Replican’t” for its inability to interestingly explore any of its unfocused ideas.
X-MEN: DARK PHOENIX: Progressive ideas about acceptance are still at the heart of “Dark Phoenix” but all the nuance is consumed in a cosmic bonfire of CGI flames and the messaging is delivered with a mallet.